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Hussein Wfu 0248M 11504.Pdf SICK & TIRED OF THESE BROKEN PROMITHES PROMITHES: NAVIGATING THE SEDUCTIVE FALSEHOOD OF BLACK REPRESENTATION AND THE IN(TER)VENTION OF BLACK GUERILLA EXPRESSIONISM BY NADIA A HUSSEIN A Thesis Submitted to the Graduate Faculty of WAKE FOREST UNIVERSITY GRADUATE SCHOOL OF ARTS AND SCIENCES in Partial Fulfillment of the Requirements for the Degree of MASTER OF ARTS Communication May, 2020 Winston-Salem, North Carolina Approved By: Ron Von Burg, PhD, Advisor Alessandra Von Burg, PhD, Chair Rowena Kirby-Straker, PhD Calvin Warren, PhD Acknowledgements First, to the One that makes all things possible. I thank Allah (SWT) Next, to the people that have provided me with unconditional, nurturing, and healing familial love throughout my journey. Hooyo, Abbo, Habo Faisa, Nasra, Naderia, Nimo, Abdinasir, Abdirizak, Amal, Habo Asia, Habo Nimco, Habo Aisha, Adeero Farah and so many more I can’t begin to list. Without you, I would not have been able to even attempt my dreams. To my Black Co-mentors, who supported me through the trenches, talked with me through my anxieties and heartbreaks, and celebrated my process. Sunhee, Karease, Chad, Nicole, Ashley, Brooke, Vida, Mako, Zainab, Sadia, Hana, Ladan, Geo, Anthony, Coco, Heaven, Willie. Our conversations educated, propelled and inspired my commitments to study the phenomena of Black life, y’all have expanded my understanding of family. To my found family members, who gifted me countless times with their hilarious conversations, thoughtful advice, and caring friendship. Civi, Taylor, Janet, Colin. You have enabled my growth in ways that I am endlessly grateful for, I’m so happy to share my life with you. To the Black Professionals of the Academy, who meet with me in the margins and provided me with the necessary support to embark on my projects. Amber, Calvin, Candice, Rita, Rowie, Jo, Nathan, William, Angela, Lydia. I would have dropped out a long time ago without your guidance. To the Black Debaters, whose rhetoric and performance inspired my search for stories beyond the limits of human rhetoric. Bintou, Aysia, Acia, Iyana, Lynn, Raveen, Jada, Hannah, Brianna, Ryan, Michael. Thank you for letting me watch your performances and I can’t wait to see where you go from here To my Wake professors, whose constant support and active defense of my work against rampant anti-Black departmental discourse of white civility and “debate privilege.” Ron and Alessandra. I hope you continue your efforts so incoming Black Graduate students also have the space to build their thoughts. And Finally thank you to grad student me, Nadia Hussein, girl there were a lot of times I thought we weren’t gonna make it, but you really stuck through it and did that shit. I hope you’re proud! II TABLE OF CONTENTS ABSTRACT IV INTRODUCTION 1 CHAPTER 1: IT ENDS TRAGICALLY: NAVIGATING THE SEDUCTIVE POLITICS OF BLACK RE- PRESENTATION 34 CHAPTER 2: MAKING YOUR OWN STORY: RECKONING AND REIMAGING THE REPRESENTATIONAL LIMITS OF THE ARCHIVE 80 CHAPTER 3: DIRTY IF YOU WERE DIFFERENT: THE EROTIC PATHOLOGIZATION OF BLACK FEMME EXCESS AND THE RADICAL POTENTIAL OF CRITICAL FABULATION 114 WORKS CITED 129 CURRICULUM VITAE 144 III Abstract: Representation Matters is an utterance that is often evoked to uncover the ways globalized anti-Blackness constructs forms of exclusion within media and culture. The phrase acts as a kind of perceptible measure for the assumed racial progress of civil society, as the presence of Black bodies in powerful positions attempts to serve as verification that the horrors of slavery and genocide are simply the unfortunate effects of past mistakes rather than an enduring legacy of gratuitous violence. My thesis plans on analyzing how the visibility of racialized and gendered bodies, especially those made visible for entertainment, are intertwined within the onto-metaphysically violent process of obliterating the Other, particularly the Black nonbeing. My analysis hopes to unveil representation as a fraudulent measure for progress and examine representation as an epistemological tool that employs rhetorical arguments designed to fortify the anti-Black logic that maintains civil society. My thesis will focus on how Black representation within American popular culture is implicated within the politics of the archive, a collection of historical records, iconography, and documents which provides an assumed public memory and intimate insight on the inner workings of a place, institution, or group of people within an event. In addition, I reflect on critical fabulation as an in(ter)vention of the archive and representation. The practice of reimagining the Black social life challenges the Western Canon of the archive which relegates the genealogy of Black feminist epistemology into zones of death. My thesis will compare these narratives to demonstrate the ontological violence of the archive then use the process of critical fabulation to explain the radical potential of telling stories of Black life in events of social death. IV Introduction “Grandad always making some shit up about history… Man, he made up Catcher Freeman. Shoot, he probably made up this whole ‘slavery’ thing. What nigga you know gonna work all day in the field for no paper? Riley Freeman, The Boondocks Nigga You Tryna Get Off the Plantation by Selling a Script? The False Promise of Representation Representation Matters is an utterance that is often evoked to uncover the ways globalized anti-Blackness constructs forms of exclusion within media and culture. The phrase acts as a kind of perceptible measure for the assumed racial progress of civil society, as the presence of Black bodies in powerful positions attempts to serve as verification that the horrors of slavery and genocide are simply the unfortunate effects of past mistakes rather than an enduring legacy of gratuitous violence. Calls for diverse representation in entertainment are filled with contentious discourse, observable through twitter trends such as #OscarsSoWhite and #NotMyAriel, which denotes representation universally understood as a unique epistemological tool that undergirds the hierarchy of the ontological social order. Representation projects enthymeme-like rhetorical arguments that can either justify and reinforce or disrupt and challenge the metaphysical laws of Man.1 My thesis plans on analyzing how the visibility of racialized and gendered bodies, especially those made visible for entertainment, are intertwined within the ontometaphysically violent process of obliterating the Other, particularly the Black 1 Calvin L. Warren, Ontological Terror: Blackness, Nihilism, and Emancipation (Duke University Press, 2018). V nonbeing. 2 My analysis hopes to unveil representation as a fraudulent measure for progress and examine representation as an epistemological tool that employs rhetorical arguments designed to fortify the anti-Black logic that maintains civil society. Demands for improved racial and gender representation with mainstream American popular culture are not limited to the literal visual or numeric representation. For example, the increase in racially and sexually diverse characters in the fourth phase of the Marvel Cinematic Universe are still encoded within the overall narrative structure that control the inclusion and exclusion of marginalized bodies. The wildly successful Black Panther promotes Wakanda as a fictional mecca of Black Power only to unceremoniously decimate the country and kill of the royal family (visibly murdering the T’Challa in Avengers: Infinity War while retroactively killing Shuri in Avengers: Endgame promotional material) to service the larger narrative interests of the cinematic universe that centers on the progression of the white heteronormative characters. Narrative choices that structure the conditions of Black representation impart particular implicit discourses that spectators can voyeuristically consume as realistic or normative statements about Blackness (non)place within civil society. My study seeks to examine how Black bodies are represented in media to demonstrate how those representations metaphysically interpellate Blackness into zones of objectification, the process of dehumanization that relegates a person’s subjecthood to an agentless commodity. Researchers argue that Black representation within globalized media functions as an 2 Saidiya Hartman, “The Anarchy of Colored Girls Assembled in a Riotous Manner,” South Atlantic Quarterly 117, no. 3 (July 1, 2018): 465–90, https://doi.org/10.1215/00382876-6942093; Hortense J. Spillers, “Mama’s Baby, Papa’s Maybe: An American Grammar Book,” Diacritics 17, no. 2 (1987): 65–81, https://doi.org/10.2307/464747; Kellee E. Warren, “We Need These Bodies, but Not Their Knowledge: Black Women in the Archival Science Professions and Their Connection to the Archives of Enslaved Black Women in the French Antilles,” Library Trends 64, no. 4 (2016): 776–94, https://doi.org/10.1353/lib.2016.0012. 2 affective channel, a mediating technology designed to manipulate the transitional feelings of change in civil society to overwrite those feelings with logics of anti-Blackness. 3 I will explore how these representations strongly influence and deteriorate the embodied subjectivities of Black people within civil society. Pop culture is a necessary site for rhetorical artifacts because it is reflective of the society that produced them. They can strongly influence the societal discourse that informs how we perceive marginalized bodies with that society. As our own program at Wake Forest incorporates critical media
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